... . “The Coda Wagging the Dog: Tails and Wedges in the Chopin Ballades.” In Nineteenth-Century Piano Music: Essays in Performance and Analysis , ed. David Witten. New York: Garland Publishing. THE PATH FROM TONIC TO DOMINANT IN THE SECOND MOVEMENT OF SCHUBERT’S...

... of Morley's balletts reveals four primary “Englishing” techniques. First, Morley establishes and confirms tonic more thoroughly than the Italians do. Second, the dominant chord plays a larger role in Morley's balletts, often yielding predictive statement-response phrase structures. Third, Morley uses pre...

...Drew Nobile In this article, I advocate for a syntactical definition of harmonic function in rock music such that function is acquired not by a chord's scale-degree content but by its role in the context of a song's form. In rock songs, the syntactical role of dominant, for example, is often played...

...) are nothing but derivative forms of the stack-of-thirds dominant seventh chord (dominante-tonique; Example 14a). The functional roles of the chordal components are clearly distributed: G is the root (basse fondamentale), the third B is the leading tone (notte...

... (1636–37), emphasizes delivery ( pronuntiatio or actio ) rather than style ( elocutio ) as the basis for comparing the two disciplines. As such, it offers a notable contrast to the more familiar analogies put forth by the German theorists who have tended to dominate our perspective. At the heart...

... of the 5-6 cycle are separately considered. The 5-phase trajectories are classified as diatonic, idiosyncratic, or obstinate. Despite its long history and current dominance, the mode of analysis based on Roman numerals and tonicizations is eschewed for sequential progressions. Instead, the connective role...

... extended dissonant prolongations. Robert P. Morgan is professor emeritus of music at Yale University. His most recent book is Becoming Heinrich Schenker (2014). © 2016 by Yale University 2016 dissonant prolongation Schenker's view of dominant prolongation Works Cited Baker...

.... is understood to be subsumed within the larger dominant prolongation that extends from the second theme in the exposition, m. 14 ff., through the development section, and across to the dominant of m. 57. Specifi- cally, Schenker interprets the subdominant as a composed-out seventh of that prolonged dominant...

... temporarily becomes the fifth [of IV] only immediately to become tonic again, though there exists not the least compulsion for this. In I-V-I, on the other hand, the tonic is suppressed completely so as to be summoned categor- ically by the third or leading tone of the upper dominant. [10] The cadence...

... their tones in a row of alternating major and minor thirds.2 Triplets of tones form triads, and Hauptmann indicates the relations among the tonic, dominant, and subdominant triads. Uppercase pitches are related by just perfect fifths, while lowercase pitches...

...). Bebop harmony of the 1940s and 1950s is built on relatively simple elaborations of functional progressions mostly within a tonic-dominant framework.5 Even so, the differences between bebop harmony and Shorter’s harmony are to some extent only a matter of degree, with Shorter greatly developing...

... if Mozart’s slurring does not concur fully with this reading, the resulting harmonic rhythm generates a credible underlying hemiola con- sisting of tonic and dominant harmonies alternating in multiples of two beats. This hemiola does...

... harmonization of the descending scale, in which 7ˆ-6ˆ-5ˆ is set as 3ˆ-2ˆ-1ˆ in the key of the dominant, has especially important formal consequences. Neumeyer’s third objection is that (according to Schenker) the octave line is not subject to harmonic interruption, but only to melodic division at scale step...

.... Sonata form arises from a two-part fundamental structure, and the sole re- quirements of development and recapitulation sections are those that serve this structural division: the impulse toward closure is interrupted following the arrival or prolongation of and dominant harmony; a recommencement...

... “concurrent use of second inversion tonic harmony in the orchestra and dominant harmony with 4–3 suspension in the chorus” (Castle 1962, 1:145).4 Later 306 on, Bernadette Lespinard (1975, 116) and the present writer (1994, 358– 62) disclosed comparable dissonant “embellishments” of the cadential six...

... these effects, it may be that the juxtaposition of these “dark” and “bright” chords reflects the juxtaposition of “night” and “day” in the title. In replacing ≤VI-V-I with ≤VI-I, Chick Corea may have followed the path of European composers in their attempt to replace the dominant- tonic axis...

... melodies. Chapter 3. “Bass Lines and Harmonic Structure” begins with a dis- cussion of tonic prolongation achieved by means of bass lines, using pass- 484 ing and neighboring motions. These lines are then harmonized with con- trapuntal chords. The dominant is introduced as a structural chord...

...≥ followed by a V suggests that the latter harmony is the primary element of the two—a pre- dominant harmony is usually subordinate to the dominant. But occasionally one may abandon, for specific reasons, such obvious readings and interpret, for example...

... of a “normal,” single- centered tonal system by two. Zavlunov (2010, 439) suggests viewing mutabil- ity as a tonal structure that relies on four centers: two primary (the relative tonics) and two secondary (their dominants).29 Example 1 is my schematic...

...-measure phrases. After the first phrase, based upon the tonic, the second phrase is its displacement (Versetzung) on the dominant.1 The third phrase announces itself as one more displacement of the phrase, bringing it back to the tonic, but is cut off after only four measures by the sharp...